This is a diagrammatic representation of opinions I hold on longboard dancing. It is obviously inspired by Da Vinci's drawing. In my drawing however, a female Korean longboarder is instead of a nude male figure. This is partly as a tribute to the popularity of the longboard dancing in South Korea, and the surprising (to me) and much impressive population of women participant in the discipline, compared to the other developed countries in which it is prevalent.
I made the overall tone cold rather than the warm colours of the aged paper of Leonardo's drawing. I also incorporated patterns and shapes popularly associated with ancient European mysticism [as depicted on TV!].
"Eppur si muove"?
I maintain that a highly skilled longboard dancer needn't always look down at their feet nor have the hands constantly raised and flailing about whilst he/she dance. This is always the case for beginners - naturally, in order to have better balance and for one's feet not to miss the board while stepping about. Seasoned dancers, however, should only have their hands above shoulder level, and the eyes fixed on the board/feet, because they want to, and not because they have to. This could be for reasons such as (1) personal preference, (2) particular moves looking better with arms extended upward (3) or compensation for an unexpected near loss of balance.
When the arms and hands are moved as creatively and dynamically as the lower body, then this grooving of the limbs will look like actual dancing, as opposed to mere "stepping" to spectators. The Peter Pan done riding backwards with one's arms behind one's back always looks more impressive than the standard Peter Pan with the arms typically held up looking like a crucified froward liberal.
As for the eyes' general focal point: show me a longboarder looking anywhere but at the board or feet while dancing, and I'll show you a master. Such a one has an intimate relationship with their board, where - through experience of training - there is an arbitrary intuitive model of the board's surface in the dancer's mind. They feel/intuit the feet-board locus, hence freeing the eyes from constantly guarding the feet's movements on the limited substrate.